The learned Dr. Guy Patin says: “On dit que M. de Meziriac avoit corrigé dans son Amyot huit mille fautes, et qu’Amyot n’avoit pas de bons exemplaires, ou qu’il n’avoit pas bien entendu le Grec de Plutarque.”3

Alter regularly composes phrases that sound strange in English, in part because they carry hints of ancient Hebrew within them. The translation theorist Lawrence Venuti, whom Alter has cited, describes translations that “foreignize,” or openly signal that a translated text was originally written in another language, and those that “domesticate,” or render invisible the original language. According to Venuti, a “foreignized” translation “seeks to register linguistic and cultural differences.” Alter maintains that his translation of the Bible borrows from the idea of “foreignizing,” and this approach generates unexpected and even radical urgency, particularly in passages that might seem familiar.

Alter told me about his decision to reject one of the oldest traditions in English translation and remove the word “soul” from the text. That word, which translates the Hebrew word nefesh, has been a favorite in English-language Bibles since the 1611 King James Version.

Alter's translation puts into practice his belief that the rules of biblical style require it to reiterate, artfully, within scenes and from scene to scene, a set of "key words," a term Alter derives from Buber and Franz Rosenzweig, who in an epic labor that took nearly 40 years to complete, rendered the Hebrew Bible into a beautifully Hebraicized German. Key words, as Alter has explained elsewhere, clue the reader in to what's at stake in a particular story, serving either as "the chief means of thematic exposition" within episodes or as connective tissue between them.

Alter’s keen grasp of that rhythm and syntax is evidenced by his playful 10 commandments for Bible translators: 1.Thou shalt not make translation an explanation of the original, for the Hebrew writer abhorreth all explanation. 2. Thou shalt not mangle the eloquent syntax of the original by seeking to modernize it. 3. Though shalt not shamefully mingle linguistic registers. 4. Thou shalt not multiply for thyself synonyms where the Hebrew wisely and pointedly uses repeated terms. 5. Thou shalt not replace the expressive simplicity of the Hebrew prose with purportedly elegant language. 6. Thou shalt not betray the fine compactness of biblical poetry. 7. Thou shalt not make the Bible sound as though it were written just yesterday, for this, too, is an abomination. 8. Thou shalt diligently seek English counterparts for the word-play and sound-play of the Hebrew. 9. Thou shalt show to readers the liveliness and subtlety of the dialogues. 10. Thou shalt continually set before thee the precision and purposefulness of the word-choices in Hebrew.

His commentary, often thought-provoking and occasionally infuriating, is never edifying.

Alter says he avoids the phrase “‘like the son of man’ because of its strong, and debatable, tilt toward a messianic interpretation.”

The critic Guy Davenport, in a pan of Lattimore, wrote that translation is a game of two languages, and that “the translator is in constant danger of inventing a third that lies between.”

If you are watching this show with non-Chinese subtitles you are massively missing out. The Chinese dialogue is written with the skill of a bard. The language is sophisticated, succinct, elegant and poetic - as beautiful as the visuals. In comparison, the English subtitles were dull and prosaic, an abominable shadow of the original dialogue, using the vocabulary of a primary school student. It's as if the varying shades of blue - cerulean, sapphire, teal, indigo were translated into "blue, blue, blue, blue". I was truly disappointed by the English subtitles

For instance, they will not use an English word that the Oxford English Dictionary says came into use after the publication of the novel they are translating.

Another Zettel-related term that comes up in the quote by Magnus Wieland (in the original German version here) is "Zettelwirtschaft", which is simply translated as "paperwork" in the English translation. Not sure how dictionaries translate this word, but my impromptu translation is "loose-leaf business/operation". It is typically used to describe an unstructured mess of free-floating paper slips, as opposed to a notebook or file folder. My teachers in school have often used it to describe my careless maintenance of teaching material. But like "verzetteln", "Zettelwirtschaft" does not invoke thoughts about note making, only indirectly in the sense that it involves a set of pieces of paper.

I find that last claim highly unlikely. If you walk through a bog, you get bogged down. That's where the phrase comes from, Magnus.

Auch das grammatische Verhalten eines Wortes nach Flexion und Rektion ist der Sammlung vollständig zu entnehmen. Und schließlich und vor allen Dingen lag hier der Schlüssel zur Bestimmung der Wortbedeutungen. Statt jeweils ad hoc durch Konjekturen einzelne Textstellen spekulativ zu deuten (das Raten, von dem Erman endlich wegkommen wollte), erlaubte es der Vergleich der verschiedenen Zusammenhänge, in denen ein Wort vorkam, seine Bedeutung durch systematische Eingrenzug zu fixieren oder doch wenigstens anzunähern. Auch in dieser Hinsicht hat sich das Zettelarchiv im Sinne seines Erstellungszwecks hervorragend bewährt.

During my journey of developing the Zettelkasten Method,

to heaven. I see that if my facts were sufficiently vital and significant,—perhaps transmuted more into the substance of the human mind,—Ishould need but one book of poetry to contain them all.

Most editions of Geniza documents appear in Hebrew-language publications, andthis means that Hebrew documents are usually left untranslated. It is important to recognizethat this is a problem.

The sheet box

Contemporary scholarship is not in a position to give a definitive assessmentof the achievements of philosophical grammar. The ground-work has not beenlaid for such an assessment, the original work is all but unknown in itself, andmuch of it is almost unobtainable. For example, I have been unable to locate asingle copy, in the United States, of the only critical edition of the Port-RoyalGrammar, produced over a century ago; and although the French original isnow once again available, 3 the one English translation of this important workis apparently to be found only in the British Museum. It is a pity that this workshould have been so totally disregarded, since what little is known about it isintriguing and quite illuminating.

Even finding terms totranslate concepts like ‘lord’, ‘commandment’ or ‘obedience’ intoindigenous languages was extremely difficult; explaining theunderlying theological concepts, well-nigh impossible.

And then they met— the offspring of Skywoman and the children of Eve— and the land around us bears the scars of that meeting, the echoes of our stories.

Our elders say that ceremonies are the way we “remember to remember,”

Comedies, Dramas, Independent Films Lost in Translation

I think it's just a bad English/mis-translation problem. I'm guessing @pmmmwh assumed 'master' meant like 主 in 奴隸主 (slave owner/master). Actually a better translation would be 師 like 功夫大師 (Kung Fu master). The specimen copies are made from.

Planning note:

we still have our modern day classics